Yesterday evening, I installed the new bearing. Since then I have spent about 16 hours listening to my system. Before describing the sonic changes, I would like to add a few notes.
I had to return the original upgrade bearing to Graham as it was about 1/16 of an inch too long thus I could not close the bearing cap assembly. Apparently, earlier versions of the Phantom used a different bearing receptacle assembly. Consequently, before ordering your new bearing you should determine what version bearing assembly you have.
Apart from the new pivot having a sharper point, I noticed that the pivot shank with the square profile was about twice the length of my original pivot assembly even though the overall length from the tip of the pivot to the top appears to be the same. Additionally, the circular ring containing the threads for the pivot cover is about 1/16 inch thinner than before. Presumably, this reduces the overall weight of the arm. I am not sure if these two changes contribute to the perceived differences in the performance of the arm resulting from the upgrade.
So far, here are some of the improvements wrought by the new bearing:
The overall presentation is less mechanical, smoother, and noticeably more relaxed with greater musical flow, coherence and refinement. In particular, voices, strings and piano are more natural sounding. Strings really benefit from this upgrade, with natural rich and less mechanical textures. There is improved definition across the sonic spectrum, especially in the upper midrange and treble (although not more extended). Flutes have greater presence and air; transients from acoustic and percussion instruments appear faster and better defined while sounding less mechanical. The sound stage exhibits better definition and improved front-to-back layering with greater focus and spacing between instruments. Image height is about the same, whereas the soundstage is a little wider. The greatest improvement in the soundstage is the improved perception of depth. Better dynamics is another area of improvement with this upgrade (Massenets Le Cid, on the Klavier label sounded spectacular).
Graham has succeeded in improving an already great arm. Who would have thought that such a small change could lead to this level of increased musical enjoyment afforded by the Phantom (better yet, for only $250 including shipping).
Highly recommended upgrade.
I had to return the original upgrade bearing to Graham as it was about 1/16 of an inch too long thus I could not close the bearing cap assembly. Apparently, earlier versions of the Phantom used a different bearing receptacle assembly. Consequently, before ordering your new bearing you should determine what version bearing assembly you have.
Apart from the new pivot having a sharper point, I noticed that the pivot shank with the square profile was about twice the length of my original pivot assembly even though the overall length from the tip of the pivot to the top appears to be the same. Additionally, the circular ring containing the threads for the pivot cover is about 1/16 inch thinner than before. Presumably, this reduces the overall weight of the arm. I am not sure if these two changes contribute to the perceived differences in the performance of the arm resulting from the upgrade.
So far, here are some of the improvements wrought by the new bearing:
The overall presentation is less mechanical, smoother, and noticeably more relaxed with greater musical flow, coherence and refinement. In particular, voices, strings and piano are more natural sounding. Strings really benefit from this upgrade, with natural rich and less mechanical textures. There is improved definition across the sonic spectrum, especially in the upper midrange and treble (although not more extended). Flutes have greater presence and air; transients from acoustic and percussion instruments appear faster and better defined while sounding less mechanical. The sound stage exhibits better definition and improved front-to-back layering with greater focus and spacing between instruments. Image height is about the same, whereas the soundstage is a little wider. The greatest improvement in the soundstage is the improved perception of depth. Better dynamics is another area of improvement with this upgrade (Massenets Le Cid, on the Klavier label sounded spectacular).
Graham has succeeded in improving an already great arm. Who would have thought that such a small change could lead to this level of increased musical enjoyment afforded by the Phantom (better yet, for only $250 including shipping).
Highly recommended upgrade.